First, I’d like to thank everyone for participating in our Emotion in Motion Contest. We had a decent number of entries, and it was fun watching through them all. Because of this, EVERYONE gets a participation prize. If you sent in an entry, make sure to PM me (Touchfuzzy) on the official forums to receive a credit on your account. $5 for each participant, and $25 dollars for our winner!
And without further adieu, our winner:
Hahn Deathspark (as he is listed on youtube), centered his video on the emotion HOPE. And I’ll be honest. There were prettier videos in the contest. There were videos that were converted to video better (there is some blurriness from weird upscaling). But there weren’t any videos that captured the emotion it was going for quite like this one.
The story is cute, if a little cliche, and possibly also a bit unrealistic, but its also told with some nice tonal shifts in the music, and really keeps the emotion going all the way to the end.
Thank you again for everyone that participated, and we look forward to seeing what you all make next!
We were discussing the Borderlands series (I think I was mentioning wanting to grab the Handsome Collection), and he mentioned he didn’t think it would have been as fun playing solo. Which confused me because I almost exclusively played it solo, and consider Borderlands 2 one of the best games of the last 5 years.
Krieg doesn’t need another player, he has the voice in his head to talk to.
The part that was interesting about this is that we both play games for very different reasons. Which surprised me even more, because we had very similar opinions on a lot of design ideas, though I know we have disagreed on some things in the past (I believe I have a lot more love for traditional RPG mechanics than he does for instance), it never seemed like as broad of a gap in reasons to play as I thought.
Video games, for me, are a way to retreat away from social interaction. A way to recharge from having to deal with other people. Now, I like people, I just find them all a bit tiring. Things like MMOs, it just feels like stress to me to have to work on anyone else’s schedule.
Mark on the other hand, sees video games as a way to connect to other people. He likes multiplayer, even when playing single player games he will often stream the game for others to see. And of course, he loves just talking about games (to be fair, I love this part too, otherwise I wouldn’t have taken this job).
I did get to see a good peek at the PC HD version of Resident Evil while he streamed it. It looked awesome.
And other people I’m sure, play for many other reasons. They play for challenge. Or just to hear a good story. Or any combination of other reasons. I’m sure we all have a myriad of reasons, and sometimes, we can have conflicting reasons for why we play different games. When I sit down to play Sudoku on my tablet, it is absolutely for different reasons than I pop in Saints Row the Third.
And I feel like this is something we really need to be thinking about when designing: Why do we play? Why do other players play? Can we somehow use that information to make our games better? To be honest, I’m not really sure how to use the information this conversation brought to the forefront for me. I don’t really have all the answers. So why don’t you join the conversation below. Why do YOU game, and how do you think thinking about the reasons people game can improve our designs?
So this creature was fairly straightforward in terms of design, I didn’t want to push it too extreme (although now I feel like I should have gone further) and have it be a ‘regular’ enemy. After some sketches loosely figuring out the design I went ahead and made my drawing.
After laying the drawing out I did a quick pass of acrylics to lay out some values. Next time I think I will just start with my colors from here though.
Now everything was in place to start with some colors.
I laid in the main colors pretty thinly at first, mixing them with a bit of linseed oil and odorless mineral spirits. After that I gradually increased my opacity until I got to this point. I had to let it sit for a bit before the next layer.
This is a shot right before I took it into the computer. I’ve glazed on quite a bit of shadow and light over my initial colors here, opting for a cool blueish shadow, and a warm yellow light. I also worked into the cool rim light a bit as well.
I mostly kept my adjustments in photoshop to levels, since the photo I took turned out a little dark. I also added a bit of glow to my cool rim light with a hard light layer. It was then removed from the background and saved out as a .png for use in RPGMaker!
One thing I’ve noticed a lot, is that in video games, especially turn based RPGs, there are some things that are just done, because they are done. They are implemented without a lot of thought, its just the default design. In this article, I’m going to focus on one of those individual mechanics: the standard resource economy of Magic Points.
Now, I’m not saying that it doesn’t work. MP or its equivalent is used in plenty of games that I truly like. But, its focused around the idea of attrition mechanics, and tends to create one style of gameplay. It does work well, and if looking at it, you decide its the best fit for your game, I’m not going to stop you. But I do think changing the resource economy of your game is one of the fastest ways to make it stick out from the pack.
Of course, we do have some other defaults, especially in RPG Maker, since we have the charging TP bar as well. Its a new twist, but it too has gotten a bit of the “Default” in RPG Maker just due to the mechanics being built in.
For inspiration, I’m going to look outside of video games, and reach for my other hobby: Board Games. Board games have a long history of turn based alternative resource mechanics. I’m going to talk about two alternatives myself, but there are plenty of them out there.
Two games I’ve picked up recently, Roll for the Galaxy, and Dead of Winter, use what I call “Dice Assignment” as the main driver behind the players available actions.
Also, the Roll dice look suspiciously candy-like.
Basically, at the beginning of your turn, you roll a set of dice, and then you assign those dice to actions based on the rules. The two games work a bit different in the assignment part, and I’ll talk shortly about them.
In Roll for the Galaxy, each die has different sides representing each action. You can do that action once for each die you have assigned to that action (there are more rules on whether an action will even occur in that turn, if it doesn’t you can’t do them, but I’ll avoid that part of the discussion to avoid overcomplication).
In Dead of Winter, you have normal 6 sided dice. Characters will have attack and search traits written like “2+” or “4+” or any other number between 1 and 6. This means that you have to spend a die of that number or above to perform that action.
Now, I know what you are thinking: That sounds super random. And if that was all it was, it would be. But both games mitigate it to some degree: In Roll, your selection of dice effects likelihood of each side (different colors have different numbers of each side), and it also features a lot of ways to move dice to other actions. In Dead of Winter, there are options that you can always spend a die on, no matter the number, that are good, even if they are not 100% ideal, and also has special actions that can let you reroll dice at times.
This is a mechanic that I could easily see fitting into a turn based RPG. Roll dice, assign dice to character actions. Stronger actions need rarer die sides. Add in ways to manipulate the dice and you have a neat working system that is almost completely unique when it comes to video games.
This is done in two games that I have in my collection, Space Hulk: Death Angel and BattleCon: Devastation of Indines, and I think it works really well to keep the game rounds from feeling “samey” each turn while not relying on a resource like MP.
Devastation of Indies also happens to be the most intimidating game I’ve ever opened. Actual shot of me organizing it for the first time. Not all of the contents of the box are in shot.
In both games, it behaves very similar. When you play a specific card/card combo, you mark it in some way to prevent using it again for a set amount of time. In Death Angel, you can’t take the same action two turns in a row, in Devastation, the cards you play go into one discard pile, which then moves the two cards in that into another discard pile, which then moves the two cards in that pile back into your hand.
In video games, this has been implemented in minor ways. A few skills may have recharge times. But imagine a game with no MP costs, but EVERY action had recharge times, even standards like attack and guard. Imagine how much more dynamic the gameplay could be when you had to do different stuff every round. You would constantly have to think ahead to which action you would need next turn. As long as you kept each action similar in power, you could have all recharge times identical. Or you can take advantage of how much easier this mechanic is to do in digital space and have different recharge times for different skills based on their power.
There are plenty of alternatives to the normal MP/TP style system that everyone uses. Find your own. Pull inspiration from anywhere you can. Do you have any ideas about new ways to implement the standard resource economy to make it feel fresh? Share them with us in the comments section below.
Summary: An epic traditional RPG enhanced greatly by fantastic presentation and wise gameplay choices.
I still have no clue how to pronounce it, but the name Enelysion has been familiar to me for a while now. Years in the making, the creator of this RPG Maker VX game did an exemplary job maintaining interest in the community during its long production. An unfortunate reality of the RM community is that a lot of the developers who put so much attention into getting thread views never actually finish these projects, but we have a major exception here. Enelysion is a massive game (about 12-15 hours) and the final product reflects well on all the hard work that went into its creation.
This game isn’t out to reinvent the genre and the story feels extremely familiar. A grieving, humorless mercenary named Laine finds a mysterious orb that begins to drive her to fits of rage and violent behavior. After recruiting her childhood friend Patrick, a former flame who chose priesthood over romance, they research the orb’s origins and find connections to a conspiracy by an evil cult. Eventually, two bickering knights fill out the party. The dialogue is articulate but often one-note – in particular, scenes where characters got angry just never seemed very convincing. However, much more thought is put into the love life of the main character than is typical for a game like this, which is a nice change of pace.
The characters are actually far more interesting in battle. Each of them has a distinct role to play in combat and players gradually discover helpful ways to coordinate their unique skills. The impressive character artwork, which also shows up on the screen during cutscenes, was done by Ronove of Star Stealing Prince, a game which also seems to have had some influence on Enelysion’s combat. While not as ruthless as SSP’s famous boss fights, this game has some rough encounters in store for you in the second half where button mashing will get you killed. Careful use of elemental weaknesses and buffs becomes mandatory.
Laine was too shy to join the game of Orb Hero. Besides, the band already had a singer.
Sounds pretty standard so far, right? Well, the biggest surprise about Enelysion turns out to be how well it rewards exploration. Right from the start, several locations are available on the world map and the narrative, while linear, is not overpowering at all. Hidden items are everywhere and the combination of how pretty the maps are and the beautiful collection of Celtic/New Age music that the creator has assembled make you want to stay on some maps as long as you possibly can searching for goodies. A handful of side adventures will yield powerful rewards.
A lot of small touches come together to make this game very satisfying to play. The interface is near perfect with the equip screen being a particular highlight. Most weapons come with major stat improvements and with all the character information displayed neatly on the right side of the screen, you can immediately see the big difference between certain weapons. Another standout feature was the bestiary system, which can be used in combat to analyze an enemy’s vulnerabilities, even if its the first time you’re encountering a particular creature. If you take the time to use this feature, you can engineer a swift, brutal victory.
It’s true. The store is out of amiibos.
Did I mention that there are no random encounters? Clearly a lot of attention has been paid to the complaints people make about RPG Maker games because Enelysion dodges most of them. In fact, I would recommend this one the most to people who feel discouraged about the quality of games made with the engine. I think you’ll be pleasantly surprised.
One final note: A highly unfortunate (although not game-breaking) bug shows up late in the game. The creator has released a patch meant to deal with it. You can find it here.
Has anyone played this game? What did you think of its approach to the classic RPG? How did you feel about the characterization? Tell us in the comments!
So with the Wind Dragon we took a slightly different tact, getting descriptions from the community on what to do. Here is what I ended up reading several times before sketching things out:
A dragon, turquoise in color, is hovering in the air on its massive, outstretched wings. The dragon’s scales are not jagged but instead smooth, giving it a bit of a sheen. Its body is muscular but lean; the dragon appears to be exceptionally aerodynamic. Its arms are slender and end in wicked claws suited for grabbing and slicing prey alike. Its head is small but proportional, and instead of a muzzle the dragon is sporting a beak-like mouth. Its eyes glow with a subtle white light. It has two horns that jut out the back of its head, and point directly behind the head to reinforce the aerodynamic feel of the dragon. Its underbelly is lightly armored with thicker, slightly discolored scales, as if to protect itself during its (very frequent) fly-by attacks. The dragon looks like it is ready to attack its potential prey, claws and beak at the ready.
So from this I had a color scheme and a good idea of what I wanted it to look like, and a good pose to shoot for.
I figured out a rough pose pretty quick, then I did a quick profile to figure out the main shape. Then I pulled out some canvas and started drawing.
So I mixed together some raw umber, olive green, and black and thinned it down quite a bit with mineral spirits to make the wash you can see in the background. After I had laid that in, I just started to build up the shapes more opaquely with paint and linseed oil. After I had that mostly accomplished I started putting paint directly on the canvas opaquely to get the darkest spots. I then went back in with some titanium white to do a few highlights.
Here it is after I got it into the computer and cleaned it up a bit. I also dodged my highlights a bit in photoshop because I didn’t really have time to let them dry for another application of titanium white.
At this stage I started to add color using overlay and hard light layers, my intent was not to obscure any of the underpainting but give it some rough color. After I was pretty happy with my color choices I moved onto the final overpaint.
For the final paint I got a pretty textured brush and just started opaquely going over my previous layers, on a new top-most layer. I will capture this process on the next character, but I didn’t this time since I was trying something new. After I painted over most of everything I added some fiery effects as well. And that’s it!
And here was a quick color variation I did, mostly just using hue-saturation and then some additional glowy bits.
Download the files and vote in the poll here: http://forums.rpgmakerweb.com/index.php?/topic/37002-bi-weekly-battler-wind-dragon/
Back in the 2k/2k3 days there wasn’t a lot of options in terms of resources. Developers had to rely on rips from other sources (often SNES era RPGs) to customize their tilesets. This led to a lot of clashing aesthetics that often made for visually dissonant games.
Nowadays, RPG Maker users have tons of resource packs to choose from. Many of them are designed with the RTP in mind like the Modern Day and Futuristic tile packs. You can easily plug them into your project with little to no editing required.
If you are going to use custom graphics for your game then you run the risk of having clashing graphics. I’ve seen many projects that have a few custom portraits for the main characters and then Character Generator faces for the supporting cast. This can ruin otherwise appealing art.
When selecting assets for your game consider how well they fit the artistic style. I’d rather have a game that mostly relies on RTP than a mishmash of art styles.
C) Maps that make no sense
One of the major differences between a Good Map and a Bad Map is not just the mapper’s artistic ability. It’s whether the map actually makes sense! Many maps often have strange layouts that would be impractical for NPCs to move around in. They can be too large, too small. Objects can be located in weird locations like having a clock behind a wardrobe. When designing your maps, take the time to consider the layout.
Poor use of depth can ruin a map
Another pitfall I often see is poor use of depth in mapping. This can most often be seen in Mountain locations. Because RPG Maker has a 3/4 top-down perspective it can often be difficult to design locations where the depth changes. Be conscious of the depth of your map when working on uneven terrain or you’ll end up with maps like the one pictured above.
D) Bad tutorial or NO tutorial
Often RPG Maker developers design their game with the assumption that the player is familiar with RPG Maker games. This is a pretty dangerous assumption to make. When designing the introductory section of your game, you should assume the player has never played a RPG Maker game before. You want to point out the basics like Controls (“Press X to access the Menu”) or how to navigate the menus. You should also give the option to skip these tutorials for seasoned players.
A common pitfall with tutorials is front-loading too much information. If your game relies on unconventional mechanics or terms, then you want to slowly roll them out so that the player can comprehend and retain them. If it’s a huge info dump all at once then the player will have difficulty remembering important details.
Adding a Game Manual to the project folder or putting one in-game as a key item is also a good idea and a useful resource for players. Just assume most players won’t read them.
E) Poor pacing or lack of engagement
One of the biggest pitfalls is poor early pacing in RPG Maker games. Many RPG Maker developers create introductory sections that offer no challenge or interesting mechanics. You don’t want to overload the player at first but you don’t want to bore them either.
When talking about RPGs, particularly commercial ones, you might hear someone say “The real game starts 10 hours in!” There are tons of other RPGs that are engaging early on. Just look at classics like Chrono Trigger or Earthbound for example.
Nick has written an excellent article on Pacing: How Is It So Good: Chrono Trigger. Consider reading it for tips on how to properly pace your RPG and keep your player engaged.
F) Frequent missing in combat
You know what’s not fun in RPGs? Losing a turn because you missed your opponent.
The high risk, high reward character or skill is fairly common in RPGs. You either have a chance to do high damage or no damage. Even if you crunched the numbers and the results are favorable, it still can give the player a bad impression of an character or skill if it misses often. If you’re going to have missing in your game make sure it doesn’t happen too often.
The default HIT is set to 95%
By default, the HIT % of any class is 95%. Consider bumping this up to 100% and changing it for weapons/skills or have it affected by states instead. Otherwise, it will apply to all actions that can miss.
G) Too much RNG or “false difficulty”
RNG has become a fairly common term when griping about game balance. “Screwed by the RNG”. When players say something like that they’re referring to the “random number generator” that is present in many games. The root of RNG in RPGs can be traced back to dice rolling in D&D. RNG can make a game more interesting by creating unpredictable elements. It can also make games feel unfair when done poorly.
Many novice RPG designers fall into the pitfall of relying too much on RNG to make their game difficult. When designing the AI for your enemies, you should weigh the chance they will select certain actions over others and what results that can lead to. At some point it becomes almost impossible to predict every variation but even a cursory review can reveal potential balance issues.
Does RNG improve your game experience or detract from it?
If your RNG is too wide in range it can lead to vastly different player experiences. In one of my friend’s early games, he had a final boss who had the chance to use a buff that would increase all his stats making him much more difficult.What made it worse was the buff could stack. If he didn’t cast the buff then the fight was fairly trivial. If he cast it more than once then it became almost impossible. It was completely random whether or not he would use the buff. It would have been better to have had him cast the buff at certain intervals in the battle (every X turns, HP < X%).
When designing encounters you want controlled randomness. The random factor should improve the overall encounter; not take away from it.
H) Too much exposition
Exposition is a tough balance in RPGs. You need to share important plot details with the player to give context to the game but you also don’t want to bore the player with walls of text.
Volrath has written an excellent article on this subject: Exposition: A Tough Balance. Make sure to read it for tips on how to balance exposition in your RPG.
I) Poor spelling/grammar
One of Nick’s 4 Ways to Turn Me Off Your Game Immediately. It’s worth taking the extra time to review your writing for spelling and grammatical errors. One here or there is forgivable but if it keeps coming up it’s going to start making your game look lazy.
Engrish can ruin an otherwise good game
Hopefully this article revealed some pitfalls you might have missed in the past.
What are some pitfalls you’ve noticed on the path of RPG creation? Let us know in the comments!
So, being the RPG fans you are, I’m going to assume you all caught the Persona 5 Trailer that hit recently. If not, just strap in and watch it below. (Or just watch it again anyway, it is fantastic).
Okay, you back? It was ridiculous right? You are now hyped? Well, let’s look at it all from a different perspective. Let’s look at it from a design perspective. We’re going to include Persona 3 and 4 into the mix as well, since we know so much more about those two games, and they have a lot of the same qualities.
Now originally, this article was much broader. I talked about the setting, the background of the characters, the music choices… but then I hit one subject, and it ballooned so much that I had to start all over and make the whole article about that one thing. And that one thing is Color.
Now, I’m not an artist. You won’t see me going into color theory and composition and all that. I just don’t know enough about it (I mean, I can make a go, but it’s not my strength). But what I am though, is a marketer. Luckily, I get to market things I actually like. I’m not sure I could stand myself if I had to go all Mad Men. But anyway, one thing as a marketer I do understand is the PSYCHOLOGY of colors.
Of course, colors are also influenced by our personal experiences, so nothing is 100%, but color psychology is accurate enough to be used heavily in many different disciplines; marketing and interior design being the two most common.
Different colors communicate different things, and the later Persona games seem to get this, either subconsciously, or as I suspect, deliberately, to compliment the themes of the games.
Persona 3, as you can see, is a predominantly BLUE game, and specifically, it tends to use a very soft, somber blue.
Now, no color is universally negative. Blue represents intelligence, competence, and calmness. While those meanings aren’t completely lost on the game, which does have an intelligence to it, the challenges you face are almost all related to the negative connotations of blue.
Sadness. Aloofness. Coldness.
Persona 3 is mostly themed around the idea of accepting loss and death. The calming blue just kind of works you in that direction, while also giving you that feeling of melancholy that goes with it.
And look at the world you travel around during the game. All the grey concrete of the big city. Just GREY. Grey just has the tone of lack of meaning. A color suppressing emotions. A dull, depressing shade that compliments the blue very well in communicating the theme of the game.
Persona 4 on the other hand, seems to go entirely the other direction on color.
The main color of the game is a bright, eye searing yellow. Nothing calming about this one. It communicates emotional strength and friendliness. Its a very inviting color.
On the flip side though, it also represents fear and anxiety. Persona 4 is a game very much about coming to terms with who you are, bad parts and all. This theme, is much more hopeful. But it is also filled with anxiety. From Yukiko’s desire to be saved from having her life chosen for her, to Naoto’s struggling to be an adult while still feeling like a kid, there is a LOT of anxiety and fear involved in those kinds of conflicts.
But it also ties into the positive emotions of the color. Overcoming those conflicts requires that emotional strength. Supporting your friends through them requires that friendliness.
And look to the way Inaba is designed in comparison to the setting of Persona 3. It is filled with greens and browns. A very earthy, warm feeling compared to Persona 3’s very inhospital greys.
This time, it’s about a group of high school students that are being “chased” by unexpected occurrences due to the justice they believe in.
Its primary colors, if you couldn’t tell already, seem to be reds and blacks. Reds represent excitement, danger, aggression. Its a perfect color for the theme of being chased by something or someone. It also fits in with the heist style action we see in the trailer.
Blacks also represent sophistication and glamour. Just look at the ballroom like areas that the characters seem to be infiltrating, the black is also perfect.
But there are also other scenes we see in the trailer. Oppressive grey subways for instance. But the main character is also in his civilian personality there. Who seems to be a bit more timid and put upon, being bumped on the train, being hit in the head with chalk. It almost seems to represent a dull representation of his life outside the danger and excitement of infiltrating high society functions and fighting shadows.
All three games seem to strongly draw from color psychology to support the themes of their game. From the menus, to the environments, to the packaging, it’s all there to reinforce something.
Do you think about color in your games? The tiles used in different areas, screen tints, the colors of your menus?
Do you plan to in the future?
What do you think? Join us in the comments section below.
Time for another contest! This time we are doing a cutscene contest. But not just any cutscene, we have to FEEL your cutscene. My favorite part in all of fictional media is when it makes me feel some type of emotion.
What this means, is that for our cutscene, you have to pick an emotion. Any emotion you can think of, but it has to be one word. You can pick dread or happy or anxious or fear or anger or you know, whatever emotion you want to pick. Then make your cutscene around that emotion.
Here are the rules!
Your cutscene must be centered around an emotion that can be summed up in one word. That word needs to be included either at the beginning or end of the cutscene in some prominent way (just a black screen that says the word is fine, but if you want to get clever with it, go for it).
Your cutscene can be no longer than 5 minutes.
Your cutscene should remain PG-13.
Your submission needs to be in the form of a video, NOT an RPG Maker project. You will need some form of video capture program like Open Broadcast Software(this is a free program) to record your entry. Submit your entries to firstname.lastname@example.org using the topic “Emotion in Motion Entry”. Your submission can be sent in one of two ways.
You can upload your video to Youtube.
You can upload your video as a file on a file sharing site. If you use this option, make sure that the video file will play in VLC Media Player.
Either way, link the file/video to us in your submission email. The deadline for your submission is February 25th at 12:01am UTC.
Goats are having a moment. Whether it’s the runaway success of the novelty game Goat Simulator or the rapid proliferation of YouTube videos showcasing the hilarious noises they make, it’s clear the demand for goat-related entertainment is high. Now the developers at Cabygon Games are bringing Goats on a Bridge into the mix, a combination of cuddly visuals and rigorous platforming loosely adapted from the classic fairy tale “Three Billy Goats Gruff” that has just been released!
“It’s been an amazing experience,” said co-creator Cheryl Lim about the process of bringing the game to a commercial level. “Frustrating at times, tiring at times, exhilarating at times and I wouldn’t trade a moment of it.”
The player controls two goats (and a corgi, to up the cute factor even more) who are navigating a series of bridges while trying to rescue their brother from a villainous troll. The mechanics are simple enough at first – run, jump and roll past objects to reach the other side of the bridge – but it’s not long until the game throws you a curveball and challenges you to control both goats at once. The careful control needed for these segments has given the game a reputation for formidable difficulty but at no cost to the overall fun factor.
“We actually decided on what kind of mechanic we wanted in the game first, which was the one hand, one character thing,” Lim said. “The story wove its way in rather seamlessly after that.”
Goats on a Bridge was first introduced to the public as an entry in the 2014 Indie Game Maker Contest. According to Lim, the 30 day time frame was nowhere near enough for the developers to finish everything they wanted to do, but the result still impressed both players and the judges.
“The biggest strength of Goats on a Bridge is that it uses a combination of short levels and adorable presentation to remain thoroughly fun and accessible despite a frustratingly high difficulty,” said IGMC judge Nick Palmer. “You will never have this much fun dying.”
The game fell just short of landing in the top 3 for its non-RPG category when the results came out, but the judges spoke highly of it and it was given a special mention by Kimberly “Sabre” Weigend, a member of the “Frag Dolls” group who served as one of the celebrity judges for the event.
“I really enjoyed my time with Goats on a Bridge,” Weigend said. “The characters are great and super super cute. I liked how the menu system was implemented and the game was fully explained.”
Degica’s staff kept the game in mind when surveying the IGMC entries for potential further development. Goats on a Bridge is the first of the entries to reemerge as a commercial game.
“We were thrilled that people were enjoying the game,” Lim said. “Some of the comments were hilarious. It’s the little things that keep us going. It was awesome when Sabre picked our game as her ‘Judge’s Choice’ and even more surprising when Degica came knocking to talk about publishing.”
In addition to preparing the game for a full PC version, Cabygon also had to create a version that could be played on mobile devices. The team recoded the game from scratch for the mobile version, a decision that Lim now regrets and believes added unnecessary difficulty to the process. Since games are played very differently on a tablet than on a keyboard or controller, converting the unique control scheme for the double-goat levels was a major challenge. However, the team persevered and are happy with both versions of the game.
The Cabygon team has more elements they would like to introduce into Goats on a Bridge over time, but there is still plenty of fun waiting for goat fans who decide to give the game a shot. The journey of the game from contest entry to commercial game is nearly complete and Lim said the experience is an example of why it pays off to pursue your interests and put your work out for the world to see.
“If you really want something, and you find the right people to work with, just go for it,” she said. “There’s no point in sitting around waiting for someone to do something tomorrow when you can do it today.”
Goats on a Bridge can be purchased on Steam, the App Store and Google Play. For more details, visit the official website.